Front and Back Covers,Volume 28, Number 3. June 2012

Front and back cover caption, volume 28 issue 3 Front cover Imagine you're walking in the woods and you kick over an artefact – a piece of pottery, perhaps. You don't know what it is, but you know it's old, and it looks precious. Who you gonna call? A university colleague? The British Museum? Or an ex‐army, former professional wrestler, whose trademark call is to arch his chest like a gorilla and shout, ‘Boom, baby, boom!’? American cable viewers have been watching Ric Savage seek out antiquities, dig them up and sell them. Savage, owner of an artefact recovery and sales outfit that specializes in the Civil War era, fronts American Digger, a filmed series broadcast by Spike TV. He's passionate about history, he knows about old things and he digs – the definition, you might think, of an archaeologist. Archaeologists beg to differ. Across the US, high profile archaeological organizations have complained about the series, which, they say, promotes looting and the destruction of national heritage. They seem to have gained support not just from the public, thousands of whom are signing online protests, but also from metal detectorists and collectors – members of the very gang to which Savage belongs. On 28 March American Digger Magazine, which has no connection with the TV series, dropped Savage as a columnist. Metal detectors, it said, are for finding history, not making money. For many archaeologists such a distinction misses the point. Whatever the intention, they argue, inexpert excavation driven by the beep of a machine is destructive. Yet in Britain, where communication between detectorists and professional archaeologists is enshrined in the unique Portable Antiquities Scheme, barriers have been coming down. It was looting that sparked the idea for the scheme 20 years ago. Could an outsize man with a penchant for heavy machinery achieve the same in the States? Back cover RECOVERING MEMORABILIA The front and back covers of this issue portray contrasting ways in which memorabilia may be recovered. If the front cover is about sensationalizing finds for entertainment on popular TV, the back cover shows finds after sifting for valuable possessions in the deposits left by the 3/11 Great East Japan earthquake and tsunami. Various volunteer centres were set up to help clean local residents' rescued possessions found in the debris. Photos and family albums were the most frequently rescued objects. In addition to ongoing cleaning sessions in the devastated region, off‐site sessions have also been held in various parts of Japan. Piles of rescued photos are still waiting to be cleaned. The image shows cleaned, rescued photographs being dried at a cleaning session held at 3331 Arts Chiyoda in Tokyo on 11 February 2012. Even though it has been a year since the tragic disaster, not all the images in the uncleaned photographs have faded despite having been covered in seawater and sludge full of bacteria and asbestos. Having survived as traces of memory as well as of personal history, these photos offer the hope of one day being reunited with their owners, or the relatives and friends they portray.